A sequence of sacred choruses on texts from the prophecy of Isaiah. Pulitzer Prize-winning composer Douglas Moore (Chairman of the Music Department of Columbia University) wrote to Thompson in 1936, saying, '...I want to go on record in writing' as believing that you have written the best modern choral work I have heard. It is good from every point of view. Technical treatment of the voices, understanding and expression of the text, and actual musical content which is fresh and beautiful.' His sentiments have been echoed by choral conductors ever since. The Peaceable Kingdom has become established as a masterpiece of unaccompanied choral writing.

Reprinted from the American Choral Review, this special issue was compiled to honor the composer on his 75th birthday. Contains critical essays by James Haar, Elliot Forbes, and Alfred Mann, and extended notes by Dr. Thompson. Dates of composition and first performances also included. A rich source for studies of his music and for the writing of program notes.

Five choral works by one of the master's of 20th century American choral music. Randall Thompson's Alleluia. Since 1940, this classic of classics has become one of the nation's most-often performed choral works. Rare is the church, school, community, or professional choir that has not sung it. The masterful construction and simplicity of text (Alleluia, Amen) make the Alleluia suitable for almost any choir for almost any occasion. 'The Gate of Heaven' was composed for the dedication of the Jessie Ball duPont Chapel, Hollins College, Virginia, 1959. It is particularly suitable for the dedication of religious buildings. 'Now I Lay Me Down To Sleep' In response to a complaint from his students about having to use Latin texts, Dr. Thompson composed this motet at the blackboard for his class in modal counterpoint. The text is the familiar bedtime prayer from The New England Primer. 'Pueri Hebraeorum' was composed in 1928 for the Wellesley College Choir, when the enrollment grew to twice the size the chancel could accommodate. The choirs sang back and forth from opposite ends of the chapel. Jacob Handl's Haec Dies had suggested the pattern for eight-part chorus. The voice parts may be doubled by two quartets of similar instruments. The text is in Latin. Particularly suitable for Palm Sunday. 'Rosemary', the name of Thampson's daughter, was commission by the Women's University Glee Club of New York and is based on a cycle of American verse. Any one of these compositions would make an interesting and rewarding addition to a women's choir repertoire.

This communion service, though appropriate for any season of the Church year, was designed especially for use at Whitsuntide. It can also serve very effectively as concert repertoire, either in its entirety or excerpted. The movements are in English (except for the Kyrie).

Since that day in 1940, 'Alleluia' this classic of classics has become one of the nation's most-often performed choral works. Rare is the church, school, community, or professional choir that has not sung it. The masterful construction and simplicity of text (Alleluia, Amen) make the Alleluia suitable for almost any choir for almost any occasion. 'The Gate of Heaven' Composed for the dedication of the Jessie Ball duPont Chapel, Hollins College, Virginia, 1959. It is particularly suitable for the dedication of religious buildings. The Eternal Dove was composed in 1968 to honor Harvard University Professor G. Wallace Woodworth. It is closely related to the composer's Mass of the Holy Spirit of which Dr. Woodworth gave the first complete performance. 'Fare Well' was written for performance by the combined high scholl choirs of Calhoun, Kennedy, and Mepham, New York, in 1973. The three-stanza poem by Walter De La Mare (1873-1956) closes with, 'Look thy last on all things lovely, / Every hour. Let no night / Seal thy sense in deathly slumber / Till to delight / Thou have paid thy utmost blessing; Since that all things wouldst praise / Beauty took from those who loved them / In other days.' 'Bitter Sweet' was first performed by the choir of the Church of the Incarnation, New York City, on Oct. 25, 1970, under the direction of Thomas Dunn, who first called Thompson's attention to George Herbert's poignant and profoundly religious poem.